#i have a lot of feelings about carol's character development

[ciderjacks]

me watching the newest MQ episode: wow this is so good, really reminds me of why I love this show so much! And I love how the characters were written and developed here, it felt like whoever was writing and directing this ep really understands these characters and how to write them we—

*directed by Danny Pudi*

me: ohhhhhhh of course

[oathkeeperoxas]

TOP GUN / Icemav fic recs part 8

There have been a LOT of good icemav fics posted this year - please check out some of the ones below which I've particularly enjoyed!

Rec list 1 here

Rec list 2 here

Rec list 3 here

Rec list 4 here

Rec list 5 here

Rec list 6 here

Rec list 7 here

Easy By Your Side by @wordsonamission

Written for Top Gun Ace Week! Day One - Micro labels (demisexuality) - "Promise me you'll wait for me" Maverick invites Iceman to spend their leave together in a cottage on the coast. Ice accepts, but isn't sure how to handle the fact that he's starting to develop romantic feelings about Maverick. He's never seen any indication that Maverick is interested in him beyond friendship. As they bond over seafood and grocery shopping, Ice finds his feelings growing.

Ice telling Mav about his boundaries, and Mav letting Ice come to him on his own terms is so very sweet and good. I love how the author portrays the care and understanding they have for each other!!

Apoptosis by @flyingfightingfishy

When aviators cause problems, they're designated apop, assigned missions designed to be deadly. Sometimes it's a strike mission, sometimes they're protecting other assets that the navy wants to be sure come home. Mav has been designated apop almost since the beginning. Ice is flying a mission that the navy deems worthy of protection.

Oh my GOD the worldbuilding and character dynamics in this slap so hard, I love the set up and how both Ice and Mav are written. The author places them in this sidestepped world so perfectly it feels like the fic is far longer than it really is. Such a treat!

give me mercy no more by @eighteaseven

They’re both twice as old now as they were when they started this, as both of their joints can certainly attest. But these aches make Ice’s willingness to kneel for him all the more humbling.

🫠 well what can I even say. The author GETS Ice, and writes Ice and Mav being so very in love with each other and giving each other what they need!!! The fact that they're older and experienced and still want each other and want to please each other makes the rest of this fic even better, which really is saying something considering how good it already is.

the further on the edge, the hotter the intensity by StoriesofmyLife

Maverick wonders if it's always going to be like this--this burning want under his skin, the total awareness his body seems to have of Ice. The surge of want that always seems to grip him, even at the most inappropriate of times. He wonders if he's ever going to be able to be around Ice and function like a human being. Thankfully, Ice seems to have the same problem as Maverick. Or--Five times Maverick and Ice have sex in places they totally weren't planning to.

I really enjoy the character dynamics in this, not only between Ice and Mav but the other people who they're interacting with as well. The last few chapters are especially good!

the well traveled road to you by @icemav86

“You said we’re dating?” Maverick asks, eventually, incredulous, with no indication of whether or not he’s willing to help Ice. After Ice’s divorce, he tells a harmless white lie to get his kids off his back. Turns out it’s not that simple.

Saturn has such as way of putting Ice and Mav in situations that I utterly love - the writing is very good, and nails their characterisations perfectly!

magic in your fingertips (love is a wild thing) by @whatiwouldnotgive

Maverick’s never been good at saying. At the talking about things. He always prefers action to words. Carole laughed about it when he offered to fix up her junker of a pick up truck with fondness in her eyes, and Goose never mentions it at all. Just smiles at him whenever Mav brings home his favorite dinner, or lets Mav pick out the movie they watch for the night. Ice is somehow worse.

I love the banter here, between Ice and Mav but also when Goose and Slider make their appearances. The summer romance vibes here are immaculate honestly, the get together is just soooo perfect. Melting the iceman's heart indeed!!

Don’t Read the Last Page (But I Stay) by @rabbit-factory

“Thank you, Lieutenant Commander Mitchell,” Ice drawled, disdain rich in his voice. “The day you become in charge of my promotions I’ll do whatever idiotic tasks you’d like me to do with a smile. But until then.” “Don’t threaten me with a good time,” Maverick leered, and actually managed to startle a laugh out of Ice. It warmed him, with sense of nearly possessive joy, that he was the one who got to tease this man, pull the laughter out of him when he was most frustrated. That was his to do, his responsibility, and no one else’s. *** A look at Ice and Maverick’s relationship, over ten holidays.

So sweet and good!! I love the reunion here, and how Ice and Mav play off each other over the years as their relationship develops and grows <3

face on a lover with a fire in his heart by @enthyrea

Stepping up on his toes, Maverick throws the scarf around the back of Ice’s neck, wrapping it snugly around and making sure the ends are even on both sides of Ice’s chest. Mav’s hands briefly brush over Ice’s jawline, and they’re so warm it makes him dizzy. To make matters worse, Maverick then shucks off his bomber jacket, throwing it over Ice’s shoulders and bringing it close to his chest. The inside of the jacket is toasty, and it smells like Mav. “Are you sure?” Is all Ice can say. Mav smiles up at him, the snow decorating his dark hair like glitter. “Of course. It looks good on you anyways.” He says, with an indecipherable wink. AKA, Ice and Mav get caught in a blizzard on their way to Slider's for Christmas. Ice tries to deal with his feelings for Mav while trying not to freeze to death.

So cute and good and warm - the perfect winter tale. And there's even art!!

feel my body rock (every time you call my name) by @iceman-maverick

Maverick’s got that look on his face now. The one that sets off every alarm in Ice’s mind. But there’s no tower to buzz here, it’s just Ice and Maverick and everything between them. “It does feel better.” Mav smirks at him, “You know, the omega way,” “How could you possibly know that?” Ice snaps. He feels a familiar pressure building between his thighs and absolutely the fuck not. Ice abruptly turns to walk the other way back towards the mess. Fuck it, he’ll take the scenic route before he lets Maverick scent him like this. “Rave reviews,” Maverick laughs - not unkindly though, it’s always warmth coming from Maverick these days -  as Ice tries to escape with what little dignity he has left. Fucking alphas.

Biting and chewing this one!! Ice self exploration with omega Ice! Worldbuilding and omegaverse in the Navy! Mav standing up for Ice, but also Ice standing up for himself!! Plus the flirting at the end, hmm so good

Any Change in Time by @icezansky

After the Enterprise, they came home and took up their posts at Top Gun, this time as instructors, and didn’t speak of it again. They spent their days in the classroom or in the air, and their evenings side by side at the O Club or on one another’s couch. And then Viper introduced Tom to his daughter, Sarah, and she was kind and lovely with a spitfire attitude that reminded him of someone else. She took up his evenings, then – double dates with other officers and their girlfriends, and quiet nights in where she cooked him dinner and they talked for hours. He proposed to her after two months of dating, and she said yes. Now, six months later, she’s going to meet him at the end of the aisle.

The pining in this is so rich and layered, I love the way that Ice and Mav have to learn to circle around each other and decide what they really want in life before they reach out and take it.

Delicates by @topgunreacts

In which Maverick sneaks into Ice's room for some late-night ass, and discovers he doesn't mind getting overheard.

Such a set up!! Ice and Mav in this are just so very into each other, and very much uncaring of who knows it. I love that for them honestly. Yeah boys, get that ass!!

[phantobats]

Hi! Hi! Hi! I was wondering if I could get some comic recs? I'm particularly into Batman but more of him actually working alone- as much as llove the batfam, my mind can't keep up when there's too many characters, you know? I can just barely finish any Justice League comic.

A lot of comics are poorly characterized. I still shiver at the thought of All Star Batman and Robin. Seeing how your views match a lot with mine, l'd appreciate some recs!

Hi, sweetheart! Of course I can.

I get that sometimes comics with a huge cast of characters can be very overwhelming, so no worries, I've got you.

Here are my own personal favorite comics focused on Bruce/Batman:

Batman: Ego (2000)

Batman: Ego dives deep into Bruce Wayne's psyche, exploring his inner conflict between being Batman and his more compassionate, human side. This introspective one-shot is about Bruce trying to reconcile his mission with the toll it takes on his mental health. It's not overly dark, focusing instead on the emotional and psychological weight of being Batman.

A series that fully focuses on Batman is the Batman: The Legends of the Dark Knight comic series. I totally recommend reading through it, but here are my favorite storylines within the series:

Prey ( Issues #11-15 )

Prey is an underrated psychological thriller featuring Hugo Strange as the villain. The story emphasizes Batman's tactics, his psychology, and his early struggles in Gotham. It's well-paced, focusing entirely on Batman and his developing relationship with the GCPD.

Gothic ( Issues #6-10 )

Batman: Gothic is filled with symbolism and metaphysical elements that explore Bruce Wayne’s traumatic past and his drive as Batman. It’s very much a story about Batman’s mind, his motivations, and the weight of his mission, with a heavy focus on the noir aspect of the character.

Batman: Ghosts (1995)

Batman: Ghosts is a retelling of Charles Dickens' A Christmas Carol with Batman as Scrooge. It features Bruce Wayne being visited by three spirits who force him to reflect on his life choices and mission as Batman. This is a more introspective story that emphasizes Bruce's inner struggle, not unlike Batman: Ego. It explores his guilt and the cost of his crusade against crime, though with a more optimistic tone.

Batman: Blind Justice (1989)

Written by the screenwriter of Tim Burton’s Batman, Blind Justice is a detective story with strong psychological elements. It focuses on Bruce Wayne more than his alter ego and explores his sense of guilt, responsibility, and the price of being Batman

However, if you do feel like reading more light-hearted series/comics, here are two I've recently finished and had so much fun reading:

Batman: Gotham Adventures (1998-2003)

Batman: Gotham Adventures is a comic series that spun out of Batman: The Animated Series and continued the tone, character designs, and storytelling style of the show. It is a more all-ages-friendly series, with self-contained issues that often focus on Batman solving crimes, battling his iconic rogues' gallery, and protecting Gotham City. The series mixes action with the detective work that defined the animated series, showcasing Batman as a sharp investigator and a moral force in a crime-ridden city.

Joker: One Operation Joker ( 2021– )

Joker: One Operation Joker is a humorous and highly unconventional take on the Batman-Joker dynamic. The premise is wildly different from typical Batman stories: after an accident during one of their confrontations, Batman is transformed into a baby. The Joker, of all people, takes on the role of caregiver, with his new goal being to raise baby Bruce Wayne back into adulthood—while maintaining his usual chaotic nature.

Don't hesitate to DM/ask for more! And if you'd like to ramble together over some of them, since you did mention having similar views, definitely don't shy back from sending me a text!

[my-mt-heart]

Why Explicit Caryl Canon Matters

Daryl and Carol (Caryl) fans make up a large portion of the spinoff's audience, and this audience wholeheartedly believes that Daryl and Carol are each other's only choice. It's in the writing. It's also reinforced by cast, crew, and EPs. For example, Norman has repeatedly said “If Daryl falls in love, it's forever."

There's a misconception that Carylers are a bunch of hysterical saps – fans who only want their ship "fucking under the stars" and only care about Daryl because of Carol, but that’s not true. In reality, Caryl fans are the deepest, most intuitive thinkers in the TWD community. To them, story matters. While they recognize and adore all of the subtext, they understand that it's supposed to lead to something worth the 13-year wait. They're expecting that major sense of relief and joy from watching explicit, undeniable, canon.

Explicit canon respects Carol's and Daryl's character development – individually and together. They started out way behind everybody else in life, convinced they weren't worthy of love. Daryl thought he was better off alone and Carol thought she was just a burden, but then they showed each other their true potential. Carol told Daryl he was a "man of honor" and Daryl taught Carol to have hope for a better future. They've struggled and suffered and strived to be good enough for each other. So, where's the payoff?

I understand not all fans want the same things, and maybe there's pressure to “keep everyone happy." Maybe it feels like a lose-lose situation. But from a marketing perspective, Caryl fans are a very reliable source of revenue for the show, so keeping them happy secures a reliable audience for future seasons of the show. They'll show up with their wallets out and their enthusiasm turned all the way up for Norman's and Melissa's nuanced performances. They'll create more fanart and other content. They'll make the show trend on Twitter constantly. Fans already adore Norman and Melissa, but explicit canon will amplify it further whereas keeping things ambiguous will cause a significant decline in viewership.

Ambiguity is the reason that the "I love you" scene in the flagship's finale got mixed reactions. For the fans who also struggle with their self-image, it was important to see Daryl and Carol overcome their own insecurities and finally "take whatever happiness they could get." But instead, many saw Carol's lighthearted "I love you too" and Daryl's departure as if they were both forfeiting what they always wanted. Daryl was submitting to his solitary nature again while Carol assumed she still owed a debt to her community and Daryl would be happier without her anyway. Both of them deserved a happy ending, or at least a piece of happiness to launch them into the next part of their journey. As far as many fans were concerned, neither of them got that.

That's why a lot of fans had a hard time watching S1 of the spinoff or opted out of watching all together. There were so many moments that teased the "possibility" of Daryl getting together with a younger, blonder woman nun while hints of Caryl's relationship were buried under more subtext. Keeping Daryl's feelings ambiguous just for the "fun" of shipbaiting cheapens Caryl's one-of-a-kind relationship, falsely indicating that their iconic beats can be recycled with someone else and still evoke the same passionate response from fans.

Ambiguity also perpetuates ageism and gives non-Caryl fans the excuse to say hurtful things to or about Melissa. Whether or not she's online to see it makes no difference because it still degrades her and it damages other women's perceptions of beauty and worth. Explicit canon on the other hand raises both Melissa and Norman up as two powerhouse actors utilizing their unparalleled chemistry to celebrate mature romances. It brings Daryl’s defining character traits to the forefront – the nurturing traits and the epic ones. It positions Daryl and Carol as equals, and it helps drown out the harmful comments against Melissa. 

Hopes for season 2 of the spinoff are high. Confirmation of Carol's and Daryl's romantic relationship in a way that needs no interpretation and no explanation from anyone offscreen is a dealbreaker. I know in terms of explicit canon, post-production can make all the difference, so it's crucial someone in a position of power pushes for canon that fully and unapologetically lives up to the fans' expectations, does right by the characters, and respects what Melissa wants.

[spaceorphan18]

The Rogue and Gambit Project: Previously On X-Men... Rogue (Part 1)

Ten years before Gambit even came along, Rogue became a staple of the X-Men line. That's a lot of time for her to be established, so I thought I'd give a quick run down of her adventures in the 80s. There's so much to go over, though, I've decided to split it into two parts...

The Basics:

What's her name? Hahahaha, canon has no desire to tell you. It'll take the movies to force the comics to give her a first name and her marriage to give her a last. So, we're getting way ahead of ourselves. But, in case you don't know, it is Anna Marie LeBeau. I'm going to need to keep an eye for when we first learn it!

What's her backstory?? Again, we're not going to find out for a long, long while and... like all superhero origin stories its wonky and weird and doesn't make a whole lot of sense. (Oh, guys, just wait...)

Power Set (via uncannyxmen.net) : Absorb the essential energy of others on contact, allowing her to draw upon a template of their memories, learned skills, and superhuman powers, with the strength of the template proportionate to the side-effects to the victim, ranging from minimal weakness to leaving them temporarily powerless or comatose; accumulated residual templates make her mind extremely difficult to read

She'll have more but... we'll get to that, too....

Previously on Rogue's Story...

Alright, so jumping in, there's a lot of canon to go over in ten years, but Rogue doesn't play a huge role in her first decade. However, she is around, a lot, once she arrives, so I've decided to go over some of the best issues that feature her. Overall, though, Chris Claremont's 17 year run on the Uncanny X-Men is pretty classic, and I do recommend the whole thing if you're ever feeling like really digging into the X-Men...

Anyway... Rogue's best stories during the 80s (Part 1)...

Avengers Annual #10

Rogue's first appearance. This sets up a few key things you should know about her --

She was originally a part of the Brotherhood of Evil Mutants working for Mystique. We learn that Mystique (and Destiny) is somewhat of a foster mother to her.

In her attempt to steal powers, she steals from Captain Marvel (Carol Danvers - then known as Ms. Marvel) and absorbs her power set a little more permanently.

That power set consists of flight, invulnerability and super strength - the power set she's often associated with.

Absorbing Carol also means that Carol is often a part of her psyche, and Rogue has somewhat of a split personality for most of the 80s. Often times, Carol comes to the forefront and Rogue herself is buried.

She clearly has no qualms about assault and villainy at this point.

Classic X-Men 44

We do get a little bit of her backstory some years after her first appearance. There are a few nods to this incident before Classic X-Men comes out -- about her past with Mystique and about Cody, the first boy she ever kissed and the time she discovered her powers. (He ultimately ended up in a coma, btw.) He's going to be a seminal part of her story for a long, long time. But this issue lays them out a little more plainly.

I should note: when she kisses Cody and when she runs away from home is not always consistent. Sometimes the kiss comes before she ends up with Mystique, sometimes it's after.

But this issue at least gives us the first real look at it.

Uncanny X-Men #158

The first time she appears in Uncanny X-Men - the main X book of the time. Carol Danvers is on the team at the moment, and spots her. The two throw down. Rogue ends up (kissing!) and stealing Wolverine's powers, Nightcrawler's powers, and Storm's powers. Storm eventually sends her away via tornado. Not a whole lot of character development here as she's purely in a villain role, but it is nice to see her in X-Book.

Dazzler #22-24, 28

Rogue then spends some time in Dazzler's solo book - as one of the primary villains there. Mostly, she's jealous that Dazzler has everything that she (thinks she) wants -- fame, money, the ability to kiss people without killing them... The Dazzler solo is mostly action heavy, but it is interesting to see Rogue in such a villain role, especially since she'll be notable hero for so much of her history.

An interesting note - Rogue takes on Angel, and Mystique wants her to steal his powers, but she's terrified of doing so since she's never absorbed someone with a more physical defining mutation. She also claims that kissing is the best part of her power stealing (she's drastically going to change her mind about this). And she doesn't hesitate to say she'll kill if she has to (an aspect of her character that she does go back on, but when push comes to shove, she will kill if she absolutely has to.)

Uncanny X-Men #171

Rogue finally comes to the X-Men after the voices in her head become too much and she wants help controlling her power. The X-Men stand around debating whether to take her in or not, and Xavier finally gives her a chance despite reservations from literally everyone on the team.

I love this issue. Not only do we see Rogue finally coming on board, but she's drawn much differently in the issue. She's much softer and more vulnerable as she comes to terms that she hasn't been a great person and her powers are something that draws a line from having actual intimacy with anyone.

This is also where we can really see that Mystique (and Destiny)'s parentage has been rather terrible and that Rogue just has zero idea what to do. As an aside - we learn here that she's only 18!!

Uncanny X-Men #173

When Wolverine's fiancée goes missing, Rogue teams up with Wolverine to see what's going on. This starts Rogue's slow integration into the team and how she befriends Wolverine. I don't know if I'd say they're super close over the years, but they do have each other's backs, and they do make a great team -- all of which starts here.

Uncanny X-Men #(177-)178

Mystique comes back to take Rogue home but Rogue isn't about to go. She's found a new home and ultimately does the healthy thing and reject Mystique here. (Mystique takes it relatively well even if she doesn't like it.)

Uncanny X-Men #182

The first issue that mostly focuses on Rogue. We get a big insight into what's going on in her head as her own psyche battles with Carol Danvers. It's a really great issue that digs into who Rogue is and the identity battle that she's going to face for a long, long time.

Uncanny X-Men #185

This is a great issue for the development of Rogue and Storm's friendship. There's a huge conversation about trust and vulnerability and it's an issue that really solidifies the bond they have with each other. This is also the issue where Storm loses her powers, and kicks off a mini arc with Rogue on the run, all of which is really good.

Uncanny X-Men #192

While not a huge Rogue focused issue, she does get to spend some time with Nightcrawler and Colossus and is beginning to really feel integrated onto the team.

After this, things take a turn. For one, Rachel Summers (the alternate reality daughter of Scott and Jean -- ooff, comics) has shown up and has become Chris Claremont's darling. Rogue kind of takes a backseat, and while she'll have a moment or two hear or there, is not a primary focus for a long, long while.

Secondly, we start to move into the crossover era, where the X-Books are less about one shot stories and mini arcs, but become sprawling, cross book stories. It's a lot to untangle, and while Rogue is never center stage through any of it, it's enough that I'll pick it up in Part Two...

[wen-kexing-apologist]

Bengiyo's Queer Cinema Syllabus

For those of you who don’t know, I decided to run the gauntlet of @bengiyo’s queer cinema syllabus, which is comprised of 9 units. I have completed four of the units (here is my queer cinema syllabus round up post with all the films I’ve watched and written about so far). It is time for me to make my way through Unit 5- Lesbians, which includes the following films: The Incredibly True Adventure of Two Girls in Love (1995), Bound (1996), Water Lilies (2007) [Skipping for now until I can get access to it], Saving Face (2004), D.E.B.S. (2004), Set It Off (1996), The Handmaiden (2016), Carol (2015), Imagine Me and You (2005), Two of Us (2019), Rafiki (2018), and The Color Purple (1985).

Today I will be talking about

Saving Face (2004) dir. Alice Wu

[Run Time: 1:31, Language: English and Mandarin]

Summary: A gay Chinese-American and her traditionalist mother are reluctant to go public with secret loves that clash against cultural expectations.

Cast:  -Joan Chen as Hwei-Lan Gao -Michelle Krusiec as Wilhelmina ‘Wil’ Pang -Lynn Chen as Vivian Shing

__

I love when people actually have the opportunity to write and direct stories that absolutely ooze their cultures. I am not Asian, but the family dynamics that exist as a result of this story happening to an Asian family are incredibly legible and makes the film very fun to watch as writer and director Alice Wu completely scrambles the relationships between characters/families.

This was a really smart film to include in this syllabus considering the pathway to the end of the syllabus is leading towards BL shows. Saving Face follows a storyline that feels very similar to a lot of what we will see in BL when it comes to parents and their queer children trying to reach some understanding of each other. It also has some of the visual motifs that are very popular in the BL I have watched like the use of vertical walls to signal a barrier between characters (though obviously this is not unique to BL) and honestly with how many workplace BLs we’ve gotten that have made me less than enthusiastic about the actual power dynamics at play, Saving Face does a really good job showing how power dynamics can manifest in the workplace when you just so happen to be dating your bosses daughter. 

gif by @filmreel

My favorite part of this film honestly is the family relationship, how evident it is that behavior is learned and passed down between generations, like when Hewi-Lan tells Wil she worked nights so Wil could eat preceding Hwei-Lan’s father (Wai Gung) telling Hwei-Lan that he endured hardship so she could have a better life. 

It was really fun to watch how Wil and Hwei-Lan’s relationship shifts, and how they both grow as people, that Hwei-Lan starts the film wanting to give Wil’s neighbor Jay a paper plate when he comes to dinner so she can throw it away afterward and not wanting to eat too much soy sauce so her baby doesn’t “become dark”, to Hewi-Lan thinking that Vivian is racist and being mad about it to Jay and Hewi-Lan hanging out, using face masks, eating, and watching dramas together, irrespective of Wil’s presence. 

Or starting the film with Hwei-Lan strategizing with her friends about potential male suitors for her daughter for the Friday night Planet China dances, to Wil running through her own channels to develop a roster of possible Chinese men to send her mother out on dates with towards the middle of the film when they are still trying to find someone that will marry her in order to prevent further shame or disgrace from befalling their family as a result of Hwei-Lan’s pregnancy. I loved Wil helping her mom get ready for the dates and even though it was parentification, I enjoyed that role reversal of getting to see her mom be hesitant, doubtful, and self-conscious, and if nothing else I loved that moment for how genuine Wil is when she tells her mom she’s beautiful.

Or getting the lines about how everyone in the Chinese community is two degrees of separation from anyone else, and how that one off-handed line truly feels like the biggest non-family explanations for why Wil is so hesitant to be physical intimate or queer in public. As an example, you can tell she’s a little worried that Vivian told her mom that they were dating. And I liked the reveal towards the end that Hwei-Lan has known this whole time that Wil is queer but is willfully ignoring it, and that the set ups she has been trying to do for Wil at the beginning of the film are because Hwei-Lan caught her being queer and not because Hwei-Lan doesn’t know she’s queer. So you get the added layer of hesitancy around Wil’s engagement in her romantic relationship with Vivian, especially because Vivian’s parents are a part of their social circle and that puts Wil at very high risk of her mother finding out. 

gifs by @mrgaretcarter

And she has very good reason to be because Vivian is out to both of her parents and the second that Vivian’s father sees Wil and Viv in a room together he immediately clocks their relationship and exerts his power as Wil’s boss to basically force Wil to break up with Vivian.

I’ll talk about this more in the Favorite Moment portion but I absolutely loved the scene where Hwei-Lan expresses her concerns about her impending motherhood (“I am going to be a terrible mother”) and how it pairs with Hwei-Lan’s response to Wil coming out (“I am not a bad mother. My daughter is not gay.”) How the saving face cycles and Hwei-Lan has been willfully ignoring Wil’s queerness and how Hwei-Lan was going to marry a man she did not love, for the second time to save face for her father, and how it took Wil barging in and essentially giving her permission to be happy to finally abandon that and follow her own heart. 

gif by @lonesomedotmp3

And how in doing so, she is finally able to accept Wil’s sexuality, support her mad dash to the airport to try to save her relationship, comfort her child in heartbreak, and play an active role in getting Wil and Vivian back together. 

Favorite Moment 

My favorite moment is when Hwei-Lan and Wil are talking about Hwei-Lan’s pregnancy and Hwei-Lan actually voices some of her fears about becoming a mother, the first time she’s really talked at length about her pregnancy, and it is doubly important to me because Hwei-Lan is saying all of this to her daughter. Like, just read this part of the script: 

Hwei-Lan: I'm going to be a terrible mother.             Wil: What? Hwei-Lan: I don't even like babies. Stephen's always bringing his kid to the shop. All that drooling. Gross. You were different. You sprung from the womb already grown-up. And I had your father during your early years. He was really patient.                    Wil: You have me.

It is very important to me because the transition in to Hwei-Lan and Wil living together has not been the smoothest, and because Hwei-Lan has been thrown out of her parent’s house by her father because of her pregnancy and so the only person she really does have to rely on in that moment is her daughter. And it is nice to know that despite all of the things they maybe don’t understand or refuse to acknowledge about each other, that at the end of the day they are there to support.

gif by @lonesomedotmp3

We even see it with Wai Gung, who says at the end of the film that when the baby girl is born he will be over at Hwei-Lan’s apartment every day to take care of his grandchild. Sure he covers that with the excuse of not trusting what will happen if her parents are in charge of raising her, but that’s an excuse, you just know that Wai Gung is going to absolutely adore his granddaughter. 

Favorite Quote

“Are you lonely?” // “No, I have you,”

Score

9.5/10

I absolutely adored this film.

[emeryhiro]

Hi. I love your analysis of the episodes and the trailer. I love what we got. But I don't quite understand why Daryl says that he and Isabelle talked so that the three of them could go to America. If she wants Daryl to stay, she manipulates him. If Daryl is angry and cold with her. where did this family "three of them together" come from. It's weird and destroys all my expectations for Caryl.

Hey Anon😊

Thank you for the kind words 🩵

Unfortunatly I can't give you a sure answer but I'll share and explain my opinion/thoughts on it.

I agree with you on the fact that this line feels out of place and doesn't really make sense in terms of where the story and characters are going.

To put it in simple terms I think this is just Daryl trying to have his cake and eat it too. But to be more specific, I believe that as he starts to see the cracks in the Nest's system, he'll also start to realise the danger that Laurent is in, and we can't deny that he cares for the kid and feels a sense of responsibility for him because he knows Laurent wasn't raised for that world and wouldn't really make it long without Daryl around to teach him.

We also know for a fact that Daryl wants to go home, cast and crew have said this many time, and Norman even said it again yesterday in their SDCC IGN interview (timestamp 2:15).

So we know that Daryl want's to go home, that he doesn't think he'd ever be happy in France, and that he can't stay in France, but we also knows that he can't leave Laurent behind while he's in danger, he's not that guy, especially with Genet's impending attack which Laurent would never survive.

If he can't leave without Laurent, his next best option is to take Laurent back to America with him and away from all conflict, somewhere where he knows he can get what he wants (being with his family), keep Laurent safe, and give him a regular childhood in the commonwealth. At the same time, however, he also knows that as long as Isabelle is alive, Laurent wouldn't leave her, and also Daryl wouldn't feel right separating a child from the only biological family he has left. Which is how I think he came to the conclusion that the best thing he can do is to take both of them.

I dont expect his plans for the "three of them together" to go anywhere. I think that's just Daryl being naive and overly pessimistic about what he can achieve.

Regarding how he feels about Isabelle, I know that he can sense he's being used and manipulated but it's now too late for him to get out of this on his own, he's now emotionally invested in Laurent and can't bring himself to leave him, which is what Isabelle wanted all along. I've mentioned this a few times before, and I'll say it again, I believe that the longer he spends away from Carol the more he regresses into his old self, and that version of Daryl would have accepted this treatment from Isabelle becasue he wouldn't have believe that he deserved any better. We see this same pattern of behaviour develop between Daryl and Leah when he was in the woods, searching for Rick, and away from Carol for years. I know there's a lot more to both these situations which I may write it's own post about instead of making my response here unberably long to read.

Once Carol and Daryl are reunited, he'll start to think clearly again, because firstly, Carol would see right through Isabelle and never stand for or allow the manipulation, and secondly, once Daryl see's Carol again, there will be no more distractions, he's mindset will heal and completely shift, and like always Carol will be his number one priority, not Laurent, not the Nest, and definitly not Isabelle.

Yes, he'll still want to help/save them, but never at the expense of Carol and her safety. I expect that there will be some conflict between Carol and Daryl, or as Norman describes it, some "bickering like an old married couple", which I guess would revolve around:

The two of them finally being reunited and having the chance to leave without further risk, and

Daryl feeling guilty about leaving before he resolves things at the Nest and making sure that Laurent is safe and set.

However, untimetly I think the choice would be up to Carol and Daryl would follow her no matter what she decides. And in her true selfless nature, Carol would never leave before helping the people that Daryl cares about, especially if she see's him so torn about it.

And also hypothetically, even if the 3 of them did make it back to the US/Commonwealth, Isabelle would never be able to manipulate and abuse Daryl again, not while he's around and empowered by Carol and the rest of their family.

~~~

I hope this makes sense, and that I explain myself well, I know I sometimes have the habit of getting carried away 😅 I completely understand your frustration, I sometimes feel that way myself but in circumstances like this where something seem's out of character I personally just try to both look at the bigger picture and delve into what I know about the character.

Please feel free to let me know you thoughts on what I've said, even if you agree or diagree, or if there was anything else you'd like to discuss. I always enjoy these discussions and seeing different persepctives🩵

[mojo-is-rising]

I have finished coloring all my artpieces for the OLNF week, just missing background and rendition now! So as a reward for myself I thought I'd share my third mc - Caroline "Carol" Mulholland

(step 3- 18 yo)

Caroline's storyline focus on Self, your sense of self, identity, self-confidence and expression. Her LI is Qiu in a very fun take on the Rivals-to-Lovers trope with their inner character turmoil having a lot in common. Her and Tamarack were always very good friends and they look after each other. -Caroline's unique trait are her nose scar and full body freckles -Her hair quirk are natural brown roots and highlights At Step 1, Caroline is a very self-conscious little girl. She is deathly afraid of being alone so attempts at all costs to be well liked by everyone. Tamarack is superb company but Qiu is a perceived threat, as they are the top dog of the town. So Carol goes out of her way to surprass them at every step. At bycycle races, at being friends with Ren/Baxter and popular in school. Qiu embraces the competitive spirit but are trying to be actual friends with the girl. By Step 2, she has greatly succeeded in her endeavours. She reigns supreme at school, always surrondered by friends and invited to do stuff. Carol is scared to fall from grace, so she adopts a persona that is sure to impress. She dresses how others like her to dress and does what others want her to do. She is lost about who she actually is. Qiu is too tired to actively fight for anything, however, they can't help but relate a little to her situation (and admit she is dead-pretty). Tamarack is still a good friend, even if Carol is not as available as she used to.

(Left to Right - Step 2 [14] and Step 1 [10]) Now in Step 3, Caroline is on her path of discovery. Her childhood energy has come back and she wants to try everything. She now dresses in a sporty casual manner, instead of engaging in the hyper-femininity she thought she had to perform to, and spends time engaging in the hobbies she actually likes. This also means to actually pay attention to feelings about a certain someone that were burried a long time ago.

This oc recently has gone through a major re-design so i don't have a lot of references Step 4 in development!

[being-of-rain]

In the days before The Legend of Ruby Sunday, I thought to myself 'RTD did a lot of big bombastic series finales in his day, and always with Classic Who villains. But that was fifteen years ago. Maybe he's mellowed.' Dear readers, he had not.

Here's my thoughts on the episode! But fair warning, they're mostly that it was just okay. I mean it was fine. It was a fun, mindless bit of build-up and spectacle. Of course it was very much a Part One, so a lot of my thoughts are just 'I wonder where this will go next episode.'

Firstly, I don't think I'm a massive fan of RTD's method of story arcs, which is to sprinkle references to something throughout a season that'll be part of the final story without much elaboration. It feels less like a story, and more like a drawn-out teaser for the finale. And continuing a trend that started in RTD's last full season that I'm not crazy about, there was so many arcs and plot hooks too. Before the episode my brother and I listed as many we could think of, and it actually addressed almost all of them, plus one or two we forgot about or thought wouldn't come back. It started to feel like the characters were ticking off a shopping list of questions. And I know that these things basically just exist for fans to speculate about. And I can't pretend I didn't have fun joking and memeing about all the arc elements with other fans. But as someone who both isn't really that interested in genuinely theorising about how a series is going to end (odd for a Dr Who fan, I know) and who really likes story/character arcs that develop over time, I guess I'm just not the target audience. This season the arcs have pricked my curiosity, but not much more than that - except make me wish they did more with the supernatural elements than a few badly-conceived gods and the cool fairy circle episode.

Anyway, Sutekh! In the last few years the TV show has done the Morbius Doctors, Beep the Meep, the Toymaker, the Shalka Doctor... I really shouldn't be surprised by anything anymore, but I still sit in bemused shock when a finale revolves around Susan and Sutekh. And that is pretty fun. We had basically nothing of Sutekh this episode, so I'm very interested what the next episode will do with him.

I'm especially curious how much it'll dip into the Egyptian mythology aspect. Because on one hand, Pyramids of Mars is sorta built on the problematic and awkward trope that aliens at least inspired Egyptian culture. On the other hand, I think the Egypt link & aesthetic is a big part of Sutekh's identity as a villain/monster. I remember being bored when Big Finish tried to divorce him from it in their latest audio with him (but tbh I trust RTD to at least do a more entertaining story than that, even if he's boiling Sutekh down into simply a God of Death). Similarly, I think a really big part of why Sutekh made a big impact on the original Dr Who fandom is how he was a genuine overwhelming threat to the Doctor, something that probably won't be as big of a shock today. But the final part of Sutekh's identity is Gabriel Woolf, and he's absolutely as entertaining as ever.

As for Susan, after all that drama it'd almost be stranger if she didn't appear in some form in the finale. I'm wondering if Mrs Flood is Susan, something that's really weird to say seriously after thinking people were wrong about her being an important character for 6 months. At the very least I really hope they give Carole Ann Ford some kind of cameo, because it'd be such a missed opportunity if the very first companion actress was still alive and they didn't do anything with her.

What else? Mel continues to be lovely, and I continue to wonder if there's any reason it was her in particular who was brought back or if it was just to have a classic Who companion hanging around. Rose continues to be precious, and her instant bonding with Ruby is just adorable. I missed Ruth Madeley's Shirley, I assume it was filming conflicts that led to her being replaced by a preteen? When Harriet was introduced I distinctly remember thinking 'oh she's cute, I hope she sticks around.' And the Vlinx continues to have 1-2 lines and no explanation.

The VHS-powered time window was an extremely cool concept, but I feel like it didn't look as good and distinct as it could have. I'm not totally certain what I'd have done different but I still felt underwhelmed. And I'll say something I've said a lot, but I wish there was at least some vague rules to things like the time window. I don't care about scientific accuracy or real life logic, only narrative logic; if anything can happen with only a bit of poetry to justify it, the stakes and losses and victories aren't nearly as satisfying.

And this might make me sound like someone who looks for anything to complain about, but I feel there's something off about how UNIT is depicted recently. Like it's being glorified and simplified as 'the good guys' maybe more than it has any time before in the TV show's history. And it feels especially awkward when some of the UNIT characters are armed and armoured soldiers. I'm just very not in the mood to heroise someone who I might see committing war crimes on the news, you know. So I'm not really a fan of this version of UNIT and how it's consuming so many past companions.

Anyway!

Mystery Woman 1 (Susan): Sutekh. Mystery Woman 2 (Mrs Flood): Susan? Mystery Woman 3 (Ruby's mum): At this point I have to assume it's the Rani or Iris Wildthyme or Gillian Who or something.

[cha1cedony]

I think part of the reason Gothcleats has literally like consumed my mind since becoming canon is because I think about the Wilsons in the context of marriage/romantic relationships SO much?? Like. Being aro, I normally don’t like analyzing characters through the lens of romance and how they function with crushes or in relationships… It’s just not that interesting to me, and I don’t like basing a character’s personality or worth on their romantic (or sexual) dynamics with other characters. BUT THE WILSONS? OH BOY.

Ramble under the cut bc this got way too long

ALSO!!! Warning for discussions of sex! Not very in-depth. (It’s mostly just about Grant and Marco hooking up on the Titanic lol)

Anyway!

So so so much of the Wilsons’ identities in canon (and also to an even further extent in my fics/headcanons/mind hehe) are based on their marriages and immediate nuclear families. For Darryl, his entire life WAS his family. As far as we know, the same was the case for Frank, and even Robert Wilson was pretty much always talking about his gal Sal iirc. Like obviously bc this podcast is about family, BUT as your resident Wilsons expert (lmao), I want to put forth that the Wilsons in particular are about marriage!

I think the best example of this, actually, is in S2 when (on the night before Grant’s WEDDING), Darryl is talking to Grant about marriage and says that he and Grant both know that Carol and Marco respectively are too good for them. Which like. is also one of the most loaded and important statements to me in this whole goddamned podcast (and probably THE most important for the Wilsons) for many reasons. but I digress lolol

For Darryl and Grant both, there’s a perceived power imbalance in their marriages: not in an abusive way or anything, but rather as like… a measure of self-worth? For better or worse, their self-esteem and sense of self-worth are dependent on the people close to them, especially their romantic partners.

Darryl is constantly comparing himself to his father (as is Grant), but not just as a father—as a husband, too. Darryl tells Frank that he wishes he had the kind of relationship with Carol that Frank had with Darryl’s mom (which is. doubly ironic and sad bc Darryl’s mom was cheating on Frank, and he almost cheated on her, too. but I digress again oops)

But he compares himself to Carol, too, thinking she’s smarter and ‘better’ than him, and Grant especially compares himself a LOT to Marco, saying that Lincoln would be better off with Marco as a single dad and that Marco is ‘better’ than him in general. I find this extra interesting bc Frank does NOT do the same with Darryl’s mom; in fact, he (albeit light-heartedly) says she’s worse than him for having cheated—I don’t have transcripts in front of me, but something along the lines of “If you think that’s bad…”

And that’s why I think the best (and honestly only) way to really examine the Wilsons as characters/people is through the lens of their marriages.

So much of Darryl’s character especially is based solely on Carol. He’s been with her since she was 13-14 and he was 14-15, and so much of his personality and life is entirely formed around her. She’s his best friend. When he gets the idea that she might be cheating on him, or dead (as a mummy), he loses himself because, like. What else is he if not Carol’s best friend, her husband, the father of her son? Almost any time Darryl has any character development (that isn’t related to his dad or son), it’s about his romantic and sexual relationships and feelings: with Carol, with Sweet Matilda, with the fucking sex pit! Lmao

And he and Carol NOT divorcing after S1 is honestly the only thing that makes sense to me; what else would he do? Even if they never manage to fix it all, what else does he have? (The answer is all of his family and newfound friends, but he can’t see it that way; his self-worth centers around HER, remember; she’s BETTER than him.) So they stay together, and he dies believing she still loves him and will be happy to be unchangingly domestic him with him all over again in heaven, whether it’s true or not. Until then, he lives with a facade of her and their son (btw the fake personal heaven Grant is a kid, so Darryl is presumably reliving his life before the events of S1 without changing anything which… is sad for a whole other set of reasons) because Darryl can’t be alone; what is he alone? ALSO. Okay actually no. I won’t get on my aromantic Darryl soapbox right now, but….. expect it at a later date lol. This part got kinda rambly/headcanon-y oops.

A lot of Grant’s character is ABOUT his romantic feelings/relationships; he’s pretty much inextricable from them. His crush on Yeet was originally his whole character (aside from aloof gamer kid lol): Shy, easily embarrassed, extremely obvious about his crush, trying to impress this cute and cool guy. And then, by the time of the Supper Bowl arc, after the chimera and everything else, he becomes more complex, of course, but those feelings are still at the center of everything—because they’re his escape.

He tells Yeet the TWO things that make him feel alive are violence (whether done TO him or BY him) and his crush on Yeet. Grant’s romantic feelings become linked and equated with violence and rage (which. makes me feel crazy btw but anyway. Sorry I love Grant beyond words) and are the only temporary cures for his dissociation.

So when Grant is an adult, of course he relies on romance and sex like a crutch; it makes him feel safe and real, and it’s an intersection of love and violence that makes him feel at peace.

I know it’s a funny moment, but this always makes me think of him and Marco hooking up on the Titanic: Grant believes wholeheartedly that they are both going to die and that there’s nothing he can do about it (or maybe he just doesn’t even want to try to save them). When Marco finds out what’s happening and sort of scolds Grant for it, Grant is embarrassed and says it’s because he’s just “having so many feelings” (probably not exact words), which is also interesting because that’s pretty much the opposite of his original problem of dissociating.

But, between being overwhelmed and dissociative, at its core, the same root feeling is there: hopelessness and helplessness. Also, in his second conversation with Lincoln is S2, Grant says that violence and killing help with his self-worth, also (which ties back to what I said earlier about the connection between the Wilsons’ self-worth and their marriages). When Grant kills someone, all of his doubts disappear and “it all goes white.” If we’re looking at this through the lens that Grant equates violence and love/sex, it must give him that same feeling of… blissful ignorance? Emptiness.

This leads me to believe Grant copes with feelings of hopelessness and self-doubt not just through killing, but through romance and sex, too—like we see on the Titanic (lol)

There’s a lot more speculation I could do about both Darryl and Grant (and Frank, and even all their spouses), but I’m trying to leave it to at least canon-adjacent stuff. Anyway, let me finally circle this all back around to Lincoln lol…

It’s clear that Lincoln thinks romantic relationships are very important. He thinks marriage is beautiful (and, based on his dads’ marriage, that all marriages are good and happy lol—which is especially funny/interesting to me when you consider the several times it’s been said that something Lincoln did/does is the only thing holding their marriage together, and he’s the whole reason Grant didn’t call off the wedding in the first place). His dads have spent a lot of time educating him about love and sex and personal choice in both of those categories, which he references a few times, but, despite their emphasis on personal choice and not raising him Catholic but encouraging him to believe whatever he wants, Lincoln, at 16, is SURE that he will get married someday (and probably young, since he said to Normal that a few years is a long time to wait lol). The Wilsons’ generational insistence on marriage, romantic relationships, and nuclear families persists regardless of Catholicism, it seems :’)

Lincoln’s marriage to Chris in the simulation was also clearly really important to him—and to Chris, too, since they asked him never to remarry. I know the cast joked about this, but it does make me a little sad that Lincoln’s relationship with Chris seemed to be a lot like Darryl’s with Carol! Granted, we only know a like two things about Chris lol… also, I LIKE Chris and Carol! A lot! No hate to either of them <3 but also, that doesn’t mean those relationships aren’t strained, you know?

Anyway! A lot of Lincoln’s character can of course be attributed to his dads’ marriage, like I said before, but his marriage in the simulation was pretty big, too. Although he doesn’t talk about it a lot, it must have matured him, at least on the inside. He later references the job he had in the simulation, as well as being a dad. When he marries the other teens in space, he still thinks of Chris and what they would think. Once again, like Darryl and Grant, a lot of Lincoln’s decisions and beliefs are tied to his spouse—even if they’re not there or were never even real to begin with. Even once he’s married to the other teens, he takes it VERY seriously with pet names and domesticities.

All of this to say, it makes me wonder about his marriage to Scary in relation to his characterization as an adult! I’m not speculating that their relationship is bad or anything; I don’t want it to be and in fact VERY MUCH hope they’ve broken cycles. I just wonder how it affects him as a character (and Scary, too, of course)!

I was really excited when Gothcleats became canon not just because I shipped them, but mostly because I think the Wilsons are most interesting when looked at through their marriages. Lincoln has always put a really strong emphasis on marriage, and all of his pet names and PDA with Scary in the S2 epilogue confirmed to me that they take after the previous Wilson generations in GOOD ways, which makes me really happy.

I guess the main question I’m getting at is about how Lincoln perceives himself in this relationship. In the years soon after the end of S2, does he still feel that same emptiness and feeling of “not caring”? Does he try to cure it in the same way as his father, making “it all go white” with violence or sex or getting someone else to hold him together, or his grandfather, suppressing his depression and trying to will it away with love and close/‘happy’ romantic relationships? Does he find any of those things in Scary? Does he see himself as her equal, or does he feel inferior, like she’s smarter or more capable or ‘better’ than him? He did say multiple times in S2 that she’s the leader, she’s the one who knows what she’s doing, and he just wants to follow along because he doesn’t care anymore.

I hope not. I hope Lincoln and Scary are really happy together. I hope their self-worth is not determined by their partner. I guess that’s all this ramble is :’)

OKAY WHEW. I’m done. That was fun :D

Thanks for subjecting yourself to my ramblings omfg… please send me all of your Wilsons thoughts always. I’ve been wanting to write a long thing about this FOREVER… The aro Darryl fic(s) will come eventually. Also one about Grant coping (badly lol) with sex, which has been in the works forever bc I am bad at NSFW. But it’s fun. Uhhh I guess that’s all?

OH ALSO. If you want to read more of my post-canon Gothcleats thoughts, I published a 15k fic the other day about Jerry being their foster kid! Here you go :3

Hit the Ground Running - chalcedony

(It’s very fluffy and sweet—which is rare for me, but I promise I’m not lying! It’s silly and fun. And I do not speculate too much about Lincoln’s inner turmoil, I pinky promise)

If you read this all. Um…. Sorry? LMAO. Here is a gold star for you ⭐️

[pennyserenade]

there is a plethora of good x-files fanfics out there and i've just started to develop the problem of reading a very good one and not being able to find it again. because of this - and because all of these are genuinely novel worthy and the writers are INSANELY talented - i've decided to compile a list of some of my absolute favorites. some of these are from ao3 & some of them i found on other websites, such as x-libris and the gossamer project. i hope you enjoy these as much as i did and do. they mean the world to my romantic heart.

incrementum by lepusarcticus (explicit) - this was the first x-files fanfic i ever remember reading. i was trying desperately not to spoil the show for myself and i found out that this fic followed along the narrative, which was a godsend. i got the best of both worlds: a delectable, angsty passionate mulder/scully fic (in which they fucked from day 1) and no spoilers. it was so so so so fun reading this alongside watching the show. this writer is brilliant

omens by lepusarcticus (explicit) - i was not lying when i said this writer is brilliant. this entire thing reads like a novel and i could not for the life of me put it down when i stumbled upon it. its angsty and interesting, and could very well be another episode of the x-files because the case mulder and scully are one is so compelling. it is not easy feat to write something this good. chris carter, eat your heart out

triptych by iconicscullyoutfits (not rated but i'd say mature) - THIS WAS SO FUCKING GOOD. i can't speak highly enough about this one. its an au where mulder is married to diana fowley when he meets scully. its so so so so amazing. like i'd very well call this literature because it expanded my mind (i learned a great deal from this, especially from the chapter ice). i think diana was a very interesting character and i feel as though this fic treats her with the interest she deserves. the writing in this one is simply insane too - i'm envious of it and so so so in love with it.

love in all the wrong places by sisterspooky1013 (explicit) - mulder and scully accidentally have cybersex with each other while trying out online dating group chats. what more can i say? (also i applaud this author for making mulder's online handle allshookup61. that's so fucking mulder)

universal invariants (set from 1 to early season 2) and its sequel, laws of motion (set season 5) (both explicit) by syntax6 - these both hold such a special place in my heart. it is an au that takes on the idea that scully's bf (who was cut from the pilot, never to see the light of day) stays in the picture and there when dana starts working with fox. universal invariants makes me want to weep to because dana and fox are both so young and earnest and stupid! and laws of motion is great because they're still stupid but they're wiser about it. this is very dana and fox. i love, love, love the parts of universal invariants that cover dana's abduction arc. god these are GOOD.

arizona highways by fialka (explicit) - if you're one of those girlies who really likes an x-files episode that has a lot of case-file and scully going on, this one is FOR you. it is angsty in the worst of ways, covering more of what we see in the episodes christmas carol and emily. this is another one that i would call a novel, both in length and content. it is great and it is a very good dive into the character of scully and how she handles problems in her life

heart's desire by malibusunset (explicit) - this another really great scully-focused fic, where mulder is being a bit of an ass - as he is prone to - but she makes him come to his senses accidentally. i love a good jealous mulder and i love it even more when scully isn't exactly aware she's making him that way. this is so good that i stayed up an entire night reading it. you should too!

the guts / the incision / cauterize by wtfmulder (not all of the chapters are explicit but i would call this explicit in general) - this one is so fucking angsty it made me ache incredibly. it is a sucker punch to the gut that only the lovers (or rather, dedicated haters) of the diana/fox/dana situationship can truly appreciate. also, if you like your mulder a bit of an ass (i do! i think he really can be! i think its good to talk about!) this author is for you!!!

doorway to gods by wtfmulder (explicit) - a fic where mulder & scully go investigate a supposed portal to other dimensions shortly after scully recovers from cancer, and they both find themselves in separate hellish alternative universes where other mulder & scullys aren't doing so well. this is angsty, TOP TIER angsty. some of the scenes from this i think about often still and i read this a month ago. also this is hot. i can't not mention that small fact

the tiger complex by longgunguy (i'd say r for graphic violence but no sex or anything) - i'll be real, there isn't a whole lot of mulder/scully romance in this thing, aside from the a hand hold and a lot of quiet affection but this IS the x-files. in another world, this fic is an episode and it is brutal. you'll be biting your nails as you make your way through this one. its got a great cast of original characters and an incredible case-file, up there with an episode like ice.

[filmswithrem]

girlhood in old barbie films

when greta gerwig’s barbie adaptation was first announced, everyone was talking about how barbie will become a feminist icon. it didn’t make sense to me at all, since growing up with the dolls and movies i never saw barbie as anti-feminist or some thing i needed to compare myself to. her characters in the old films were always ones i looked up to as a little girl.

the old films are very overlooked when it comes to the actual stories and messages in the plot. due to the low-budget animation, people assume they have badly written stories. no hate to greta gerwig, i loved the barbie movie but the storylines in a lot of the older movies were more well-developed. a majority of the classic barbie films are adaptations of popular fairytale stories, just with some different takes. all the main characters (played by barbie, who’s an actress in this universe) are their own characters, with different issues, flaws, and personalities. they all have character depth and development throughout the stories.

maybe due to the super pink and girly style of the films, they’re seen as shallow. but all the movies have such interesting stories and themes. they also don’t all follow the typical damsel in distress plot line, some do but others have completely different endings. they show that there’s many different ways a girl can live her life. for example, the 2004 film princess and the pauper. the two main characters, anneliese (the princess) and erika (the pauper) both have different endings. anneliese goes on to marry her best friend, rather than the king she had an arranged marriage with. erika gets engaged to the king, but decides she needs to live her life as a singer first, then return to marry him. in the 2008 diamond castle film, both main characters don’t end up with their love interests, and go on to live in a cottage together. some of them end up marrying their princes, while some go on to travel the world. or both.

another big thing is the flawed characters. none of them are perfect, they’re all 16-17 year old girls so it’s defeated more realistic. in the princess and the pop star, a film that is a bit hated, the main character tori acts immature and is very out of touch on what’s going on in her kingdom. in magic of the pegasus, the main character annika is very reckless and sarcastic. in princess charm school, blair is very clumsy and is struggling a lot on school. even barbie in a christmas carol, where barbie basically plays a villain. all the characters have development throughout the story. same with the characters relationships, they all have different dynamics. my personal favorite is in magic of pegasus. anika and aiden are stuck having to do a quest together, there’s so much banter between them and it takes them a while to start liking each other.

obviously when talking about the feminism in barbie, i need to mention the feminist MASTERPIECE, barbie in the three musketeers. in this, barbie and her friends are training to become musketeers in Paris. throughout the entirety of the film they have all these men telling them they can’t fight cause they’re girls. my favorite part is that if this were any other film, barbie’s character probably would have ended up with the misogynistic prince. he does learn that his opinions were wrong but they don’t have anything going on with each other.

personally, i found the feminist takes in the new barbie movie to be very surface level. it wasn’t bad, just not as revolutionary as people made it out to be. the whole idea of trying to “rebrand” barbie into a feminist makes no sense to me, since she was never anti-feminist. there’s such a big stereotype in media about barbie or princesses and dolls and how “harmful” they are to young girls. none of me or any friends of mine saw barbies as something degrading. the dolls, and films especially were such a big part of me and so many people’s childhoods. i looked up to the barbie protagonists so much and i feel that they were a better representation of barbies brand than in the new movie.

[starry-eyed-steve]

I'm annoyed with people who completely vilify s1 Steve or King!Steve in general and put him onto the same level as Billy or Jason, when in canon, it's simply not true. Steve did one bad thing at the end of season one, which he realised, immediately checked himself, and apologized for.

People act like he was a big bully, constantly shoving people into lockers and committing hate crimes, so to speak, when in reality he wasn't like that.

The reason he was an asshole to Jonathan was because Jonathan put himself into the role of being the school weirdo. Plus, him being a creep and taking those pictures and developing them in school isn't exactly helping his case. Steve smashing the camera was totally valid as Jonathan violated Nancy's privacy and Steve's as well. He didn't have to buy him a new camera because he was in the right for that.

Throughout s1 and s2, Jonathan gives off "I'm not like other girls" vibes, he constantly judges people who are popular, and he even judges Nancy. Will called him out for having no friends because Jonathan doesn't want to open up. Granted, he suffered a lot of trauma and had to grow up quite early to take care of Will. I won't hold this against him because he had it not easy, but it still doesn't change the fact that he can be a judgemental asshole, like Steve essentially.

In s1 ep 2 it was shown how King!Steve wasn't this big asshole when he throws the party. He invited Nancy because, duh, he liked her, but when Barb showed up, he never made a big fuss about it even though he probably anticipated Nancy coming there alone. Later, when Barb cuts herself, after being pressured by Nancy to participate in drinking, he never made fun of her for that. He was concerned and honestly less of an ass than Nancy was in that scene. To me, this shows his true character because he could have easily made Barb feel terrible in that situation, as he obviously doesn't like her that much, but he didn't because he isn't evil. Even after she was gone to take care of her hand, he never made a joke about it with Tommy or Carol.

In s3, when Robin gave her speech to Steve as to why he was the worst (after him being brutally tortured which was played off for laughs) she couldn't even come up with good reasons why he was so horrible. She literally says Steve was a real asshole because he:

Was late to school

Asked dumb questions

Was funny and cool

Got bagel crumbs all over the floor (the worst crime committed by a person)

And the girl she liked was only looking at him and his "stupid" hair.

Another reason why the show itself villainizes Steve so much, and has to remind him and the audience how bad he was every season, is because it's written by people who were nerds and had a bad experience in high school. Like the basic concept of the show is nerds=good and jocks=the devil. They are literally judging popular kids because of their own prejudices. And with how they set up s5, Steve will have to prove again he's a changed man, this time to Jonathan (again) despite him saving his ass twice, and him apologizing to Jonathan in s1. It's like Steve is never allowed to truly move on, simply because he was popular in high school. He still has to make up for the mistakes of his past while other characters in the show just get a pass for theirs.

We are never shown this big evil Steve, we are only told by people who themselves have prejudices towards the popular crowd. Eddie literally gave this whole speech about how he doesn't like people who fit in, he was harassing them and couldn't find it in himself to postpone the final campaign because he hated how Lucas wanted to venture into other hobbies. (The show basically vilified Lucas for playing basketball.) Eddie isn't really better than the popular kids. However, because he's a nerd, he isn't portrayed as the villain but as a person who just gets it.

In conclusion, yes, Steve was an asshole in certain situations. Yes, he was (still is) vain and cared about his reputation. But in no way was he this big bad bully like people and show make him out to be. He was popular because he was charming and had the ability to converse easily. I mean, he was still able to become prom king in 1985, despite falling from grace in '84. He wasn't awkward and knew how to make people like him. He was still King!Steve up until Billy, even with dumping his friends, because he probably got along well with others in general and was only judgmental towards people who actively seeked out keeping to themselves rather than participating in "normal" high school society and were judging the popular crowd for participating in return.

Also worth noting is Steve being mean or an ass was really amplified by the friendship with Tommy and Carol. It's like he thought he needed to be extra mean in order to be perceived as cool by them and vice versa. They all brought out the worst in each other, when Steve realized that he cut them off. Like he said, he cared a lot about superficial things, but in the end, when it comes to serious things, he will always come around.

[ichayalovesyou]

Tomorrow & Tomorrow & Tomorrow

SPOILERS AHEAD

Oh man you guys! I really enjoyed this episode! I loved it way more than The Broken Circle but I did not love it as much as I loved Ad Astra Per Aspera but that episode was so a cut above the average (as in in the running for best episodes of Trek ever written caliber stuff). That it hardly seems fair to say so because this episode was an absolute JOY to watch! Lol! I love a good time travel romp!

I remembered enjoying Paul Wesley’s Kirk in A Quality of Mercy but I wasn’t sure whether I was just riding the high of the previous season or whether he could pull it off twice. But he did and I really really like his interpretation of Jim. I honestly like it a lot better than Chris Pine’s if I’m super honest with y’all.

I mean he UNDERSTOOD the assignment! He was definitely at his Kirkiest when they initially arrived in the 21st century that body language and cadence was on point despite him not looking too much like Shatner. I mean hats off to the writers too for that one. The passion for chess without being overly cocky. The all of it!

There was something about the hot dogs scene and letting La’an have the bed in the hotel that felt very Tarsus IV even tho that might not have happened in this timeline. It’s still very James Kirk of him. Not to mention the whole bit where his type is overachiever, kinda uptight but also dark and mysterious and dare I say a little out of his league folks. Whom he charms without being pushy into warming up to him and letting their guard down. Also THANK YOU to the writers and to Wesley for recognizing Kirk Drift and acknowledging our boy is a hopeless romantic and NOT a babe hound.

I called the La’an/Kirk thing way before it happened because of it. And from what was implied in the Ready Room interview with Paul Wesley it sounds as though we might get more La’an & Jim content in the future which I certainly wouldn’t object to! Although we are skirting the edge of when Jim & Carol Marcus supposedly met so that might get a lil complicated but the seasons (because they’re sorter) might not be 1:1 with years so they’ve got some wiggle room to work with.

I love seeing the cinematic parallels between Kirk & Jim’s love interest stuff in SNW that clearly draws them to each other later on. Chapel is a lot like Kirk and Spock is falling for her pretty hard. La’an is a lot like Spock by the time we meet him in TOS (not too similar to SNW baby Spock though) and they fell for each other pretty badly too! For example, both La’an & Spock are terrified of Kirk’s insane driving skills (or lack thereof lmao)! But enough about Jim & the whole K/S kitten caboodle! This episode is about LA’AN :D

Holy shit did La’an need what’s been happening with her in these past couple episodes. She got to face her generational trauma headlong, she got to see a mirror in Kirk and further realize the value of enjoying the fleeting and precious joys of life. By both convincing this alternate timeline version of Kirk that her version of the world is worth saving (also not the “Sam’s alive?” 😭 because his older brother dies unexpectedly and tragically in both timelines DONT TOUCH MEEEE, also not the potential Kirk bros content going forward also 😭). To eating the damn hot dog, and presumably letting Kirk talk her into taking the bed and just ugggggh.

And then HE DIES! They fridged Captain James T. Kirk of all people for HER character development lmao how’s THAT for a twist. Historically it’s been the other way around how’s that feel for once Jimbo? Damn!

Sera was an interesting villain, she was a good twist honestly felt like something was up with her the minute she had pics of that romukan ship. Also, I love all the self referential like, “yes we acknowledge this changed a little bit” stuff that’s happened. Like the Temporal Wars are why the Eugenics war is supposed to start around *now* and not the 90s like previously stated and Sera has been trapped trying to fulfill her mission for 30 years. Or how clearly Jim thinks everybody calls his brother George and only he gets to call him Sam when clearly that’s not the case lol. It’s nice little touches like that that really make me feel validated for having faith in the writers when nitpickers complain.

Also PELIA! She’s an art thief?! Incredible! Hilarious! Brilliant! No notes! Although it JUST occurred to me that because La’an went to Pelia before the whole “preventing the timeline from changing entirely” bit does THAT mean that La’an can at least talk to Pelia about what happened?! Because it’s implied La’an is who inspired her to become an engineer and that’s still part of our prime timeline! Maybe it’s like a Guinan and Picard situation! I think La’an should get to sob into the arms of our funky little klepto engineer grandma as a treat instead of breaking down alone in her room, please and thank you!

Anyway, baller episode! 9/10

[my-mt-heart]

Thoughts on TBOC Trailer

I'm issuing another trigger warning (for mention of abuse) and another gentle reminder that if you're happy with the trailer, then I’m genuinely happy for you. This post will not resonate with you though, so I encourage you to keep scrolling or to just block me. I really won't be offended. If you aren't happy with the trailer or you're still processing the trailer, well, let's talk about it...

There are three major issues for me. The first is the way it positions the story as Daryl's despite all the promises offscreen that it would be Carol's story this season. He gets the first appearance, the name drop, and the spotlight in 90% of the shots while Carol's side of things is like an undercurrent. I love Daryl. I love that he has his own spinoff to explore his character more deeply, but this is supposed to be Carol's spinoff equally. She may not have been marketed as much as Daryl has been over the years, but her popularity and Melissa's critical acclaim have more than earned the same amount of narrative space that Daryl has. Her being sidelined in S11 and then removed entirely from the Caryl spinoff upset an entire fanbase.

Finding out about Carol's/Melissa's return on the other hand offset that pain and started generating (organic) buzz for the show, so it baffles me that AMC wouldn't keep following that path to maximize viewership. If TBOC really is Carol's story, and I'm not saying she won't end up having the most screentime, why wouldn't they want to sell that to the Carol/Caryl fans who left, the Carol/Caryl fans who feel uncertain about the storytelling (hi 👋) and the GA who love Carol, but may not realize she's back because all the media coverage keeps leaving out "TBOC" and using Daryl as the thumbnail? When you have something amazing, like Melissa's acting and Carol's story development and Caryl's chemistry, then it only makes sense to show it off. But instead, the positioning triggered my fear of Carol being sidelined again, of her being treated as insignificant to Daryl's story and the story overall. Whether that's valid or irrational, it's still not the visceral reaction I want to have when I thought I was being treated to the epic return of the character who taught me everything I know about resilience and strength.

My second issue is the heavy-handed positioning of Daryl, Isabelle, and Laurent as a nuclear family, not just when Daryl tells Laurent that he and Isabelle want to take him to America, but the classic American image right after that of the three of them playing baseball together. Whether it's a misdirect or not—I'm having a hard time figuring out which to be honest because I know Zabel and Nicotero are more than capable of taking it in a direction that might seem wildly absurd from our POV—I'm very uncomfortable with any representation of Daryl in a manipulative relationship/friendship/nun-ship, especially if the manipulation isn't going to be addressed. And I don't expect it to be addressed going off of what Zabel and Norman have been saying about Daryl needing to open up his heart to his new family.

I have to refrain from giving out any personal details about myself on my blog, but I'll share this because I think it provides important context for my position on Daryl and Isabelle (trigger warning). I was terrified of my dad when I was a kid. He wasn't a monster like Ed or Daryl's dad, but when he was angry—and he was angry a lot—he was mean and loud and destructive. That was my frame of reference for how men naturally behave, for almost all of my adolescent life. When I started watching TWD, I recognized some of my dad's worst qualities in Daryl at first, but then Daryl grew in ways my dad never could. He overcame his predisposition as an angry redneck because he "opened up his heart" to Carol and saved all of the violence/aggression for killing zombies and fighting villains (usually). When Isabelle accused him of being like his dad to get him to stay in France (106), it cut deep because Daryl isn't anything like his dad. He's not an abuser. He's not selfish. He doesn't abandon anyone or intentionally hurt the people he cares about. He's the male role model I never had. A man of honor who deserves to be loved by someone who sees that without a doubt. Carol sees that. She was the first person to help him nurture that, whereas Isabelle keeps him in the cycle of abuse by gaslighting him into becoming a father figure to a kid he barely knows. So unless the EPs are telling a clear story about that, which they aren't, they're just glorifying toxic/abusive relationships.

Caryl is the relationship that fans have invested in for more than a decade. It's one of the most iconic relationships on television for a reason. They represent hope for their fans, some having endured hardships in their own lives similar to Daryl's and Carol's. Their fans seek comfort in a love story between two damaged, middle-aged people who thought they couldn't heal from their trauma and thought they weren’t worthy of love. Their fans have every right to expect Caryl-centric storytelling in a show that's being marketed as a Caryl show (see AMC's hashtags), especially considering they've had to wait more than two years after some assholes underestimated Melissa's value to the franchise.

I personally went into SDCC wanting to know what I could look forward to for Caryl's shared arc in addition to their individual arcs. I think a lot of people did judging by all the questions they dropped on AMC's/TWD's social media accounts leading up to the con. Side note: All of those questions were ignored in favor of questions geared toward TWD fanboys. We only got the tease at the very end of the trailer, and that tease doesn't tell us anything new. Only that, once again, it's Daryl's story and Carol is in the periphery. We already know Caryl are going to reunite. We've known for over a year and even for those who don't track filming updates, it's not a difficult conclusion to come to. The trailer can't spoil how and when and what happens after, but it can show us how Daryl and Carol remain spiritually tethered despite being physically separated. It didn't do that. It played on anxieties instead of desires, which is both tiresome and unethical.

My last issue, which we've been talking about for a while now, is the excessive friendship positioning. Yes, Daryl's and Carol's bond is rooted in a deep friendship. No, it doesn't mean they can't also be romantic. But when that word shows up in every tweet, every synopsis, and every interview, it's not only deliberate, it's targeting a specific viewership and judging by Melissa's mandated (yeah, mandated) use of it as well, I think it's less about telling Caryl fans to set their expectations (AMC thinks we're already guaranteed viewers), and more about trying to appeal to dudebros/fanboys, which is ridiculous because those fans aren't going to invest long-term anyway, not without a catalyst for more Rick stories and action-adventure stories that aren’t in Zabel's wheelhouse. It's just going to make a portion of the fanbase who will invest long-term less hopeful for what they want, plus erase the romantic potential for the GA to see. It's obviously not wrong for AMC to try to maximize their viewership. It is wrong to invalidate the profitable viewership that they have in the process. I have no idea if the show intends to surprise Caryl fans with canon by the end of the season or if certain EPs will get their way, but I do know I can't make any sense of a platonic friendship for Caryl. Insisting on that would be a huge retcon for me. A dealbreaker, as I’ve always said.

AMC started off on the right track with the very first teaser we got, showcasing the significance of Caryl's relationship in the tagline, "To find home is to find each other.” The SDCC trailer feels like we've taken three giant steps backward. I came out of it feeling like the story Zabel, Nicotero, and some faction of AMC want to tell isn't for me, that my favorite characters aren't for me unless I'm willing to forfeit my understanding of them to make the fanboys and certain EPs feel justified in their biases. It doesn’t feel good.

That’s all of my SDCC coverage for now. I appreciate everyone for giving me the space to voice my honest opinions. It might be a buzzkill, but it’s the only way for AMC to properly assess what’s working and what’s not working for their audience 🤷🏻‍♀️

[hellomystraightlacedfriend]

Of the High Evolutionary and Spider-Woman - and why I like Jessica Drew's Second Origin Story the Most

Like a lot of Marvel characters, Jessica Drew has experienced retcons and revisions to her history. In her very first appearance, 'Arachne' was told by Hydra General Vermis that she was originally a spider but was transformed by the High Evolutionary into a woman with spider-like properties. (1st Origin, found in Marvel Spotlight #32: written by Archie Goodwin, with art by Sal Buscema.)

However, this origin was immediately retconned in her very next appearance when it was revealed that Vermis told Jess this story to make her feel disconnected from the rest of humanity. Vermis and Hydra brainwashed her into believing that they were the only people who would want anything to do with her. They were her only hope for survival and acceptance. (The fact that Jess was young and very naive and her pheromones actually did have an unnerving effect on other people made this idea even easier to swallow).

In this version, Jessica Drew was the daughter of Jonathan and Merriem Drew. Jonathan was the research partner of Herbert Wyndham, who would later become the High Evolutionary. When Jess became sick from exposure to uranium as a young child, she was given a cure (made from spider blood), which gave her her powers.

This was Jessica Drew's 2nd origin story (developed largely by writers Marv Wolfman, Mark Gruenwald, Chris Claremont and their respective artists), and the one that was hard canon from the 1970s up until 2005. It's also the backstory that is still used in Marvel handbooks and was the one given in History of the Marvel Universe (2019).

In 2005, Brian Michael Bendis and Brian Reed wrote a 5-issue mini called Spider-Woman: Origin. And while I get why certain changes were made - obviously, there was an effort to simplify/streamline Jess's backstory - I just hate a lot of them. In stripping it down, many aspects of Jess's backstory that I found unique and personally fascinating were lost.

Also, some of the changes actually made things more complicated - like the decision to retcon Wyndham into just a Hydra general. Because the High Evolutionary is a key character in other characters' backstories - like Adam Warlock and the Maximoffs - this decision didn't really stick/was ignored by other writers. Because of this, Spider-Woman: Origin does not fit into the broader continuity of the Marvel Universe.

So today, I wanted to go over what I enjoyed about Spider-Woman's 2nd origin, and examine the changes that were made afterwards.

Before I proceed further, though, I do think it's only fair that I acknowledge that Bendis was responsible for really bringing back Jessica Drew as a character and making her a little less obscure. Also, there are definitely choices he made with the character that I like/find interesting, like: developing her friendship with Carol, continuing her relationships with Wolverine and Nick Fury, and getting her Spider-Woman title/costume back, among others. I even really enjoyed the whole Veranke imposter thing, which I know pissed off some fans.

That said, I still have a very visceral reaction to some of the ways Bendis handled Jessica Drew - and how some fans treat him as the end-all-be-all for the character.

So, let's go.

Part 1: The Man Who Would Be God

Okay, so the thing that probably offended me the most is how Spider-Woman: Origin turned Wynham into just a nondescript Hydra General. The reason for this is because the High Evolutionary and the Drew family actually have a very tightly wound history, and Bendis obviously wanted to stress Jess's relation with Hydra. But even though the High Evolutionary doesn't have a lot of comic book appearances (under 200 as of today) he has been quite an influential character, playing an important part in the Maximoff twins, Adam Warlock, and Spider-Woman's backstories - and also making recurring appearances in X-Men, Avengers, Thor, and even Spider-Man comics.

Also, I just like him. Like yeah, the dude's a piece of shit, but I find him interesting as a character - so that is why I am starting with him and who he is in the main Marvel Universe.

Note: While I am not going to give specific dates, this was originally supposed to take place around the 1920s - 30s. The time period isn't vitally important, though, in my opinion. It was more just that this was supposed to take place some 30+ years before the main Marvel events (like the Avengers, X-Men, and Fantastic Four forming).

Also, no, the High Evolutionary's whole "evolving" animals into more "advanced" versions of themselves isn't scientically accurate - but I like chewing on the thematic elements it creates.

So to begin, Herbert Edgar Wyndham was born in Manchester, England, into what was probably once a well-off family. However, his father’s passing (when Herbert was still young) seemed to have put financial strain on the family. Due to this, Herbert's dream of attending Oxford University to further his studies in genetics depended entirely on him getting a scholarship or sponsorship.

This didn't seem completely out of the realm of possibility - because young Herbert was something of a genius who was already pouring hours of his free time into obsessively studying the genetics of rats.

Herbert had become fixated on the idea of improving the world through accelerated evolution - and he wanted to be the one to do it. He'd even made a machine that he hoped would evolve the rats into later stages of rat evolution. Although all of his attempts so far - which had mostly been bombarding rats with radiation - had just ended with dead rats. But as much as their deaths saddened him, Herbert wasn’t one to give up.

Now Herbert was living with his mother, and she completely doted on him, so when Herbert got an invitation to attend a major genetics conference in Geneva, she was the one to go to all of their relatives to collect money, so he could go on his trip.

And this is where he bumped into a young American - Jonathan Drew, a student at Yale specializing in arthropods.

The two of them hit it off right away - Herbert seeing in Jonathan a fellow "visionary," as Jonathan Drew wanted to use the genetics of spiders to 'improve' the human race - making them less susceptible to toxins and disease.

During the convention, Herbert and Jonathan attended a lecture, where the speaker warned against the dangers of genetic tampering - saying that more theoretical research needed to be done into the long-term effects. Over dinner, an angered Herbert complained to Jonathan about this, when he suddenly felt dizzy and went out to get some air. There, he was approached by the inhuman geneticist Phaeder, who gave Herbert the genetic information he needed to perform his experiments.

(Although Phaeder didn't actually introduce himself as Phaeder, he just gave Herbert a stack of papers and then fucking left. Apparently, Phaeder gave out information like this to other human geneticists as well - like some weird fairy godmother or twisted Prometheus - but his reasons for doing so aren't relevant to this story).

Shortly after this, Herbert did end up getting into Oxford, but he blew the opportunity by spending all of his time working on a machine to turn animals into more "evolved" versions of themselves. When he couldn't even manage a demonstration on what he was working towards, he was kicked out of Oxford.

After getting kicked out, Herbert finally made a successful attempt with his machine - a machine which he had named his "genetic accelerator." He "evolved" his pet dalmatian - enhancing its intelligence to that of a chimpanzee and getting it to walk on its two back legs.

Herbert was estatic. However, the poor dog was accidentally shot by hunters, who then called it "a freak of nature." This led Herbert to believe that the only way for him to keep his "creations" safe was to keep them away from the rest of humanity.

So, he met back up with Jonathan, who had married a European woman and was now living in Europe.

Note: The nationality of Jessica's biological mother is inconsistent across sources, sometimes said to be English, sometimes French. Sometimes, she is listed as being born in Transia. Also, I guess she could have been born in Hungary, too, because of the whole Viper thing. (We'll get back to that.)

Jessica Drew's place of birth, however, is universally London, England.

Anyway, Herbert reconnected with Jonathan Drew, who now had a young daughter named Jessica. Jess seemed a pretty outgoing and affectionate child as she immediately climbed up on Herbert, something her mother scolded her for, but Herbert said he didn't mind.

Herbert and the Drews decided to pool their resources together to create "a citadel of science." Jess's mother, Merriem, had just inherited a tract of land in (the fictional Balkan country of) Transia - in the shadow of Wundagore Mountain. So that's where they decided to set up their base.

Herbert sold his mother's house (without fucking asking her!) for building money. (He'd already persuaded his mother to move into her sister's place so he could rent out the house for money for his experiments - which really demonstrates his complete but rather oblivious self-centeredness.)

With these plans in hand, Herbert, Jonathan, Merriem, and little Jessica all moved to Wundagore together to start their new lives.

Part 2: Wundagore

When Herbert and the Drews got to Wundagore, they immediately heard rumours from the locals that there was an evil spirit trapped in the mountain, and werewolves and vampires living close by. There was, in fact, an evil spirit trapped in the mountain - the evil elder god Chthon - but Herbert and Jess's parents (in a very Dracula moment) dismissed the nearby villagers as superstious simpletons.

Their arrogance grew when they found that the soil in the land they owned contained a lot of uranium ore. Now they would be wealthy! Interestingly, though, this turn in fortune did not cause any friction between Herbert and the Drews, as even though the land was technically Merriem's, Jonathan assured Herbert that they were all full partners in this venture.

Note: It's funny how especially compared to how Bendis and Reed wrote the Wyndham & Drew relationship (in Origin) as being pretty much purely professional - in Mark Gruenwald's hands, Herbert Wyndham and Jess's parents come across as having a rather unconventional closeness.

Herbert especially seems quite fond of Jonathan Drew (even though he often expresses waryness of humanity as a whole), and the fact that their finances are all so willingly tied together is very interesting to me. It would be more expected, particularly in a villain's origin story, for there to be more infighting around money. Instead, Jonathan and Herbert like each other enough that this never became a problem.

Herbert and Jonathan started working on their citadel of science, but because the engineer they hired to build it was obsessed with outerspace, they got a lab with space-faring capabilities. Jonathan was like "is this really necessary???" But he had bigger problems.

His young daughter had collapsed on the dirt she was playing in. Because even though Jonathan warned Merriem to keep Jess away from the dirt, they were both pretty neglectful in actually watching their daughter. Jess was now suffering from uranium poisoning that had been building in her little body for months. She was sick and quickly dying.

In a panic, Jonathan injected his young daughter with the experimental spider-blood serum he had been working on. However, Jess didn’t respond. Herbert then offered to use his genetic accelerator on Jess, but Merriem argued against it. She thought that it was too late for Jessica, and accused her husband and his partner of just using Jess as a guinea pig. Against her wishes, Herbert did put Jess in his genetic accelerator, merging Jess's genetics with those of the spiders.

However, Jess still seemed completely unresponsive, and Herbert put her in an induced coma/partial suspended animation in the hopes that the serum would slowly cure her over time. Angry and distressed that her daughter had been experimented on for what seemed to her no reason, Merriem rushed off into the night - and was killed by a werewolf.

Note: Okay, I wanted to pause here, because I actually highly prefer this version of Jessica Drew getting her powers to the one in Spider-Woman: Origin - where she accidentally gets spider DNA beamed into her body while she's still a fetus.

I just find it more interesting seeing these characters have this genuine fear and panic about their little girl dying - and maybe it resonates with me more because my little brother became very sick when he was three years old and eventually died (and I spent quite a bit of time in children's hospitals growing up) but there's also more nuance in this origin.

For some reason, Bendis and Reed made Jonathan and Merriem Miriam more black-and-white figures, with Jonathan being painted as a guy who secretly hated his daughter - because he's weirded out by her spider DNA - but still used her to advance his research. Whereas Jess's mother was presented as a much more sympathetic figure, as she was first taken in by her husband lies about her daughter being sick and thus the testing on her being necessary, and then later when she found out this wasn't true, she fought to defend her daughter from him.

But in the 2nd origin, especially in the parts penned by Mark Gruenwald, neither of Jess's biological parents was actually perfectly "right." Here, it is pretty clear that although Jonathan genuinely wanted to save his daughter's life, he also really wanted to see if his serum would work, and he very much wanted the glory of that success. However, Merriem was going to stand in the way of her daughter possibly surviving - because on principle, she didn't want her daughter to be used as a science experiment. Jonathan's motives were not close to being 100 percent pure, but if Merriem had gotten her way, Jess would have absolutely died.

Which is more unique for a Marvel backstory, because there are so, so many bad father/nicer mother narratives in Marvel. Which I am not saying this isn't a dynamic that doesn't occur often in real life, but I feel like Jessica's story was more about all her guardians failing her one-by-one.

But anyway, Merriem was killed by a werewolf, and it was Herbert who found her body. Not really believing in werewolves but also not wanting Jonathan to become biased against nonhuman life, Herbert staged the death to look like a fall.

Jonathan was absolutely devastated: first his daughter had become sick/comatose and now his wife was dead. Herbert tried to think of ways to console his despondent friend, but it wasn’t long after this that Herbert woke up to a note from Jonathan Drew, saying that he couldn’t stand being there anymore without Merriem, and he was going back to America. Jonathan left Herbert the citadel, and his daughter.

Part 3: The New Men and Recreating Camelot

So, Herbert found himself alone and lonely in his now completed citadel. The only person with him was his former partner's unconscious child. He decided that he would be a father to this abandoned little girl, and well, any daughter of his was going to have a world-class education. So he set up audio recorded lessons and lectures to play in her cryogenic chamber while she slept.

Herbert was (unsurprisingly) still lonely. He couldn’t really talk to Jessica (and she didn’t seem to be getting better), so he had this whole empty citadel to himself. To keep his mind busy, he set to work on making himself the perfect suit/armour to protect himself from environmental toxins. But also as a 'just in case' - even though he did not believe in werewolves or werewolf folklore or any of this crap about a demon living inside the mountain - he made the suit silver-plated on the outside.

When his perfect silver-plated hazmat suit was completed (after an intense process of trial and error), Herbert started wearing it all the time. It wasn't long, though, before his mind started itching to work on something else, and his thoughts drifted back to the evolved dog he had "created" before.

He started acquiring both domestic and wild animals from all over: lions and tigers and bears and pigs and cows and sheep. And he started putting them through his genetic accelerator. Those that survived and showed successful signs of intelligence, he called his "New Men" - though he would also more affectionately refer to them as his "children."

The New Men were absolutely bewildered by this whole process, but Herbert assured them they would adjust to this new way of existence. He had them watch educational tapes until they gained the ability to speak, and he started to feel a little less lonely.

Then, joy of joy, Jonathan Drew returned to Wundagore. Herbert was like, "I missed you. It hasn't been the same without you!" And Jonathan was like "Actually, I'm not Jonathan. I'm the ghost of 6th century wizard who took possession of your friend's body to warn you that you are in grave danger." And Herbert was like 😯 (Quotes aren't exact exact but pretty damn close).

Herbert didn't believe the whole ghost possession story, but he decided it was "a harmless mental disorder" caused by Jonathan's grief. So when "Jonathan" suggested they teach the New Men to be lance-wielding knights, Herbert decided to commit to some long-term LARPing to make his friend happy. Besides, this new code of honour would guide his New Men, make them civilised. Also, he did enjoy being the king of his castle. This is when Herbert started going by "the High Evolutionary" - a title that "Jonathan" encouraged.

Now Jonathan was, in fact, being possessed by a 6th century ghost. A guy named Magnus, who had come to Wundagore to warn Herbert that all his drilling into the mountain had awakened a dormant demon. Herbert - the High Evolutionary did not want to hear about this, though. He was like (paraphrasing):

"John, dear John, or Lord Magnus - however you want to be called, you can tell me all you want about how you used to work with Morgan Le Fay, before she murdered you with her bare hands, but don't speak to me of demons. I am a man of science™ There are no demons, and there is certainly no demon trapped in my mountain."

But like I said before, there was, in fact, an evil spirit in the mountain. He had been bound to it by Morgan Le Fay and her followers back in the 6th century - once she realised she couldn’t control the spirit she had summoned.

But back in the 20th century, time passed. A decade went by. The New Men, now called the Knights of Wundagore, kept training. Jessica Drew kept sleeping, and in her sleep, she aged very, very slowly. She had still not fully recovered from her sickness, and the High Evolutionary wondered if she ever would.

Then, one stormy night, a woman on the point of giving birth came to Wundagore and gave birth to twins. The mother slipped away in the night, leaving a note asking for the High Evolutionary to find her newborns a good home.

It was during this time that Chthon attacked, and Herbert/the High Evolutionary came face to face with a fucking Elder God. He and his knights fought back but were quickly overpowered, and Herbert watched in horror as many of his "children" were dashed to pieces in front of him. Luckily, Magnus ended up being able to put Chthon back into his dormant slumber, using a magic book called the Darkholde. However, not before Chthon put a piece of his essence into one of the twin babies: the girl who would grow up to be Wanda Maximoff, aka the Scarlet Witch.

Note: Not related to Spider-Woman: Origin directly, but I have seen other people bring up Bendis' erasure of Wanda's chaos magic (in his Avengers Dissambled Arc) and speculate that he was trying to write Chthon out of the Maximoff twins' backstory and out of the Marvel Universe. This is most likely true. For some reason, Bendis seemed determined to take all the magic away from Wundagore Mountain, which - is something I'm not a fan of.

Back to the story though, one of the surviving New Men, a cow-woman who Herbert named "Bova" (derived from a Latin word for cow) was tasked with taking care of the infants, while the High Evolutionary looked for a new home for them. He ended up placing the infants with Django and Marjya Maximoff, a Romani couple who were unable to have children of their own.

Note: Sorry, another complaint...it’s just super weird in Spider-Woman: Origin that the whole Bova in evolved cow is made out to be a delusion put in Jessica Drew’s mind by Hydra, and that Bova is actually a human woman named Bova????? I'm sorry, but why the fuck would that be her name? Did her parents hate her?

Also, it's just annoying because Bova doesn't have a purpose in the story other than to be a vehicle for the writers to be like "oh, yeah, we are retconning the High Evolutionary and his New Men! Yep, they never existed. Mhm, Hydra made them up entirely to mentally torture one child."

It seems evident that someone thought that this origin was too weird, but I just – aghhhhhhh. Okay, let’s move on.

After this, Magnus departed, saying that his duties there were done and that he had to relinquish Jonathan's body and return to his grave. But he also told the High Evolutionary that he would miss him and tasked Herbert with not neglecting the daughter of the man whose body Magnus had borrowed.

Part 4: Leaving 'Paradise'

It would still be years, though, before Jessica Drew finally woke up well from her prolonged sleeping beauty slumber. When she did wake up, her memories of her parents and her former life were very dim. She had been so young when she had gotten sick that she didn't remember anything clearly from before. So this strange world of talking, anthropomorphic animals and a knight's code of honour and all that - that was the world she really grew up in.

Note: I think that's part of what made me fall so hard for this backstory. Something about how casually and naturally Jess relayed it all to Nick Fury when looking back years later: the "High Evolutionary" promising to raise Jess like his own daughter, animals with the intelligence and faculty of human beings, the desire to recreate Camelot. They were all presented as the most normal things in the world, which is what really gripped me.

Because that is how a child raised in a bizarre environment would take it in - as their normal. And as someone who grew up in a cult, well, I really resonated with that. I mean, there are other ways that Jess's upbringing resembles being brought up in a cult (which I'll talk about a bit more soon) - but even the just talking about bizarre things as if they are completely straightforward (because that was your lived experience) is so interesting to me.

I also really like the idea of Jess being raised in a knight-centred culture, because this actually gives more context/insight into her character. Like why she has more negative emotions around being "a coward" than she does about killing people. Or why one of the things that pisses her off the most is seeing someone attack someone who is weak/defenceless, and why Jess would go in for the kill against the attacker in those situations. Of course, anyone would be upset about that, but there is a such level of anger there that we can see this goes against one of her core beliefs. An honourable knight is going to defend the weak, and hurting someone who is weaker than you is utterly despicable.

And it's just interesting that these values are following her even to this day, even though they were put in place by someone who was neglectful/abusive.

That's getting a little ahead of the story though:

So, when Jess woke up she had only physically aged to around 10 years old (or in some sources her early teens) - even though she had been asleep for over three decades. However, because she'd been in a coma-like state all this time, emotionally, she was still younger.

The High Evolutionary immediately placed Jess in Bova's care. He claimed he would be like a father to her, but he was preoccupied. His confrontation with Chthon had had a huge impact on him. For the first time, he had been come across something he couldn’t explain and was so much more powerful than him. That had rattled him, had shaken him to the core.

It's also possible that witnessing so much death and having his friend effectively abandon him a second time had resulted in Herbert becoming more emotionally detached. When he did interact with Jessica, it was mostly to examine the abilities he and Jonathan had given her.

One of the darker implications from around this time is that Jess has an ability to be resistant to toxins, but the way the power works is that she has to be exposed to a poison, endure the effects of it, heal from it, and then she will have an immunity to it. The fact that she already has a very clear understanding of how that power works in her first solo series suggests that multiple poisons were tested on her before it.

Looking back at this time in her life, Jess also expressed that she mostly felt like a labratory animal (which could be one reason why she has such a strong affinity towards characters like Logan/Wolverine or even the Hulk.)

Note: I will say that Spider-Woman: Origin does also have Jess be a test subject (although Jonathan is the perpetrator instead of The High Evolutionary.) I also do think the writers of the mini did enough research into Jessica Drew that they did try bring forward some of the same themes.

Sadly, one thing that was lost in this new origin was Jessica Drew seeing her father/father figure as a god/God. It's just one of my favourite things in stories where parental figures are lifted up onto this worshipful pedestal, and in this case, it makes a lot of sense. The High Evolutionary did save Jess's life, and he had cared for her even after her biological father abandoned her. He was her saviour.

Also, all these people around her - the New Men - they saw the High Evolutionary as God, because he was the one who had brought them to this new level of consciousness, and if he wanted to, he could also take that away. The New Men had also basically been taught that their whole purpose in life was to serve the High Evolutionary. This was readily accepted by most of them, and while others, like Bova, would go on to ponder if there was more to their existence, no one at this time was really questioning the High Evolutionary's authority. He was their king, their God, their everything.

And this does remind me of how cult members are "supposed to" and how many people in cults do view cult leaders. Add to this that the High Evolutionary did not allow outsiders (with very exceptions) into Wundagore, and that he forbade the New Men and Jessica Drew from ever leaving, and you have a very isolated and insular environment. Which is very, very cult-like.

There is also something about how the High Evolutionary can and later does devolve New Men - whether that be as punishment, or because he thought it was a mistake to evolve them up in the first place, or just because he was tired of a particular New Man - that makes me think of the dehumanisation that often takes place in cults. How personhood can be given or taken away.

Not that this is the only way to view the High Evolutionary, especially since he does eventually become more and more actually godlike in power and is even referred to as "God" at some points - you could also see the High Evolutionary as critique on God or how God is perceived, or well, something else entirely I suppose.

However you want to look at it, being "God" isn't always easy. Which Herbert was starting to realise.

Because the New Men saw him as this omniscient being, the High Evolutionary was getting flooded with questions. So, to bear the brunt of that barrage, the High Evolutionary recruited Jane Foster (yes, that Jane Foster) to be the New Men's new teacher. That way he could concentrate on what was really important to him.

Which, if you thought that would be spending some quality with his adopted daughter...well, no, that wasn't even on his radar. What he wanted to do was work on his genetic accelerator, with the hopes of making more advanced New Men.

It was just the hand that fate had handed him, his duty to make a perfect world, yada yada

Now Thor (Jane's love) happened to see Jane being taken off to an isolated location and thought she had been kidnapped. He came down to Wundagore, and basically walked into an ongoing battle.

The High Evolutionary had been making adjustments to his genetic accelerator, and had beamed a different type of isotope at the wolf he was evolving up. The wolf ended up coming out more "advanced" than the other New Men: smarter, more capable, but also filled with hate - towards the High Evolutionary and all of humanity. Declaring himself to be the "Man-Beast," the evolved wolf quickly took control of the genetic accelerator, and made new New Men - ones who would be loyal to him and help him overthrow the High Evolutionary.

A battle ensued, with Thor joining forces with the High Evolutionary, the Knights of Wundagore, and Jessica Drew to put down the Man Beast's rebellion. (This would be the first time Jess would use her venom blasts in a fight.) The Man-Beast and his underlings were defeated, but the High Evolutionary was again shaken. For the first time, he wondered if he had made a mistake tampering with evolution. Thor certainly thought so.

Finally, the High Evolutionary decided that humanity and his New Men couldn’t peacefully coexist. So, taking all but a handful of his New Men into his spaceflight-capable citadel, he took off for the stars.

Jessica Drew watched in Bova's arms, as her home lifted off the ground and disappeared into the sky.

Note: I don't know why, but I just find the image of Jess watching her home and her father/God disappear into outerspace never to return to her again particularly poignant. I especially ruminate on this when thinking about her and Carol, and how they see outerspace so differently. Carol having such positive connotations with it, and Jess such negative ones. It would just be interesting if it went all the way back to their childhood. (Even though, of course, a big reason why Jess hates/is scared of space is the whole being kidnapped/held captive by Skrull thing.)

But to return to the story, Jess and Bova and the rest of the New Men have to go on and adjust to life without their "God." Now none of the New Men, besides Bova, had really shown Jess any love or acceptance. They had tolerated her presence because the High Evolutionary had called her his daughter. However, now that the High Evolutionary was no longer there, well, things were different. The New Men started to become more and more vocal about their dislike for Jessica Drew.

The reason why they disliked her basically came down to two things. 1) at this point time Jess was instinctively/subconsciously giving off alarm pheromones that upset people around her 2) the fact that she had both human and spider DNA upset the New Men's sense of order. The High Evolutionary was fully human. They were animals brought up to personhood, but Jess was neither of those things, so they did not know how to view her.

Also, now that the High Evolutionary was gone, Jessica Drew was the only none New Man around, and though she begged and pleaded for their acceptance, the New Men just became more and more hostile towards her.

Finally, Bova decided that this was getting way out of hand, and she and Jess agreed maybe it would be best if Jess left and tried her luck among humankind. At this point in time, Jess was physically around seventeen, but because she was still catching up from spending a chunk of her childhood unconscious and had lived such an isolated existence, she came across as younger and was certainly very naive.

Despite this, Bova did not go with the child she had been ordered to take care of. Not that I actually exactly blame her in this situation. It had never been her decision to have or take care of a child. Also, she probably thought that Jess had a higher chance of being accepted if she weren't with a talking cow. Bova would have also wanted to stay with the people/community she knew and cared about, and would not want to go to some stranger place where she knew she would be shunned.

This did lead, however, to Jess going out into the world alone, a child among strangers. And in very mutant backstory fashion [even though Jess is not mutant - well, at least, not as of yet] Jess ended up accidentally killing a human man with her powers. (She was suddenly startled and hit him with a venom blast.) This led to the village turning against her, and a terrorist organisation - Hydra - coming to her "rescue."

Part 5: Hydra

After this point, this origin and Spider-Woman: Origin become a lot more alike. In both origins:

Jess joins Hydra when she is physically seventeen but emotionally/mentally younger (because in both origins she spends a sizable chunk of her childhood unconscious.) She is lied to/brainwashed in some way. She is then trained to be a spy/fighter/assassin. A guy named Jared starts a manipulative relationship with her, as he becomes her boyfriend and handler. Jared allows himself to be captured by S.H.I.E.L.D., so that Jess will come and rescue him and kill Nick Fury. Jess breaks into Fury's location, but while she is there, it is revealed to her that Hydra - and Jared specifically - have been attacking innocent/defenceless people. Jared tells Jess that their relationship was fake/that he never loved her/that he found her disgusting - before he ends up dying by her hand. Jess then ends up killing Otto Vermis. Fury tries to recruit her to S.H.I.E.L.D., but she slips through his fingers.

Some differences include:

1.

In Spider-Woman: Origin Taskmaster is shown to the one who trained Jessica Drew. This is more an addition than a contradiction to anything that was previously canon. And it's something I do actually like/have no problem with.

Well, the one nitpick I have is Taskmaster taunting Jess's costume - which would not bother me in isolation. It's just that Bendis put her back in this costume, only to have multiple people make fun of it, so whenever I see a character doing that, I hear it in Bendis' rather than the character's voice.

I also would have kind of preferred if Chris Claremont's addition to the costume's history was included. Basically Claremont had it be Jess's idea - that she fought for - to have the costume be not the usual Hydra green.

The brightly coloured costume is not great for stealth work, but I would say that it could speak to Jess's character. The colours are interesting because they are typical of poisonous animals, so the costume is like a warning sign. It could speak to Jess's sense of fairness or even her cockiness to go after her enemies in red and yellow and black.

It would also make a lot more sense to why she kept using the costume after leaving Hydra, even though that wasn't the smartest decision. If she chose the colours and felt like this was her first successful rebellion after being controlled all her life, yeah, that would give a lot more emotional/sentimental value to the costume.

I also like this idea because the person who designed Spider-Woman's original costume was actually a woman, the Marie Severin.

2.

In previous versions Otto Vermis was the Hydra general Jess was serving under, and who she killed by bending the wing of his plane and making it crash. But because Spider-Woman: Origin plays musical chairs with the characters, Wyndham (instead of being the High Evolutionary) is the Hydra general, and Vermis (instead of being the general) is just a Hydra guy Jess sleeps with for information about her father's whereabouts and then kills after he tries to kill her.

Now I don’t think it's totally out-of-character for Jess to start a sexual relationship with someone she is not attracted to in order to save/protect someone she loves, because the upper limit to what she would do to protect the people in her life is very high, but I still thought this was well, unnecessary.

3.

In Spider-Woman: Origin, Jonathan Drew is killed by Viper because he finally decides he doesn't want to be involved with Hydra anymore. In Spider-Woman (1978) after finally returning to America, Jonathan Drew is killed by an American congressman because Jonathan uncovered the motives of this group he was doing research for.

I will say that Spider-Woman: Origin is neater - is that the word? - more contained with Jessica Drew's parents' deaths. Miriam Drew is killed by her husband in front of her daughter, and then Jonathan Drew is killed by Hydra, specifically Viper. But in my opinion, the addition of having Jess see her father kill her mother in front of her doesn't really add anything to her character. And because earlier in Origin, they also had Jonathan Drew not like Jess from birth, it just kept making me think of Brian Banner, and how this backstory fits Bruce Banner better.

For some reason, it also really irritates me that Merriem/Miriam is made out to be the vastly better parent, and I don’t like how this has continued into newer comics. Maybe this is an overreaction, but I feel like I'm being spoon-fed this idea that all biological mothers are instinctively more loving and nurturing.

Speaking of biological mothers though, I did say I would get back to Viper. So, basically, the story behind Viper and Spider-Woman is just that Chris Claremont wanted Viper to be Jessica Drew's mother, so he made that retcon in Spider-Woman (1978) #44. However, J. M. DeMatteis, who was writing Captain America comics parallel to this, apparently didn’t like this idea, or someone didn't like it, so the retcon was retconned a year later (in Captain America #281.) So now Viper wasn't actually Jessica Drew's mother. Morgan Le Fay had just planted false memories in Viper's mind to make her believe that she was Jessica Drew's mother.

Which I mean I don’t really mind either scenario. I would be cool with Viper being Jess's biological mother, but also Morgan Le Fay did want to be the one to kill Jessica Drew (after Jess refused to swear eternal fealty to Morgan Le Fay and instead skewerd Morgan with her own sword), so I could totally see Morgan fucking with Viper's mind/memory just so that Viper would hesitate and not beat her to killing Jess.

4.

Okay, I am just going to make note of one other difference, and then I'm done, I'm through.

Weird thing: Jessica Drew unexplainably attending San Francisco State University in Origin takes me out of the story more than the not-scientifically sound explanation of being "extensively educated by the High Evolutionary during stasis." I actually find it pretty easy to accept the story logic of Jess learning languages and the contents of books subconsciously.

But not only does Jess attending university not fit with Spider-Woman (1978) or any of Jess's earlier appearances, but it leads to so many unanswered questions, like (if she wasn’t learning anything in the ten years she was in a coma) what was her schooling like up to this point? How did she get into university without a prior education, or transcripts? Like maybe she's just sitting in on a class, but that is not explained either. Nothing is explained.

Okay, I'm finally done now. Thanks for reading, and if you'd like, I'd love to hear your thoughts on the subject too!

Sources:

Thor #134-135 (Stan Lee/Jack Kirby)

Marvel Spotlight #32 (Archie Goodwin/Sal Buscema)

Marvel Two-In-One #29-#33 (Marv Wolfman/Ron Wilson)

Spider-Woman (1978) #1, #5, #6, #20, #35, #37 (Marv Wolfman/Carmine Infantino; Mark Gruenwald/Carmine Infantino; Chris Claremont/Steve Leialoha)

Avengers #187 (Mark Gruenwald, Steven Grant, David Michelinie/John Byrne)

The Saga of the High Evolutionary (Mark Gruenwald/Paris Cullins & Ron Lim), found in:

X-Factor Annual #3, The Punisher Annual #1, Silver Surfer Annual #1, New Mutants Annual #4, Fantastic Four Annual #21, Amazing Spider-Man Annual #22, X-Men Annual #12, Web of Spider-Man Annual #4, West Coast Avengers Annual #3

Collected by bringbackwendellvaughn here:

Scarlet Spider Unlimited (Glenn Herdling/Tod Smith)

Quicksilver #9 (John Ostrander, Joe Edkin/Ivan Reis)

Marvel Atlas #1

Official Handbook of the Marvel Universe Vol 1 #5

Official Handbook of the Marvel Universe Vol 1 #14

Official Handbook of the Marvel Universe Vol 2 #15

Official Handbook of the Marvel Universe: Avengers 2005

All-New Official Handbook of the Marvel Universe A to Z #5

FF: Fifty Fantastic Years

History of the Marvel Universe (2019) #4 (Mark Waid/Javier Rodriguez & Alvaro Lopez)

Spider-Woman: Origin (Brian Michael Bendis, Brian Reeds/Jonathan Luna, Joshua Luna)